The Dramatic Mezzo
The fach of the dramatic mezzo can produce some of the most exhilarating and compelling theatre in all opera. A fach that in some ways defines the mezzo-soprano voice and alternately deviates from it’s core vocal category.
Characteristics
As the ‘dramatic’ emphasis in the description implies, the dramatic mezzo-soprano possesses a huge, covering wave of sound that may vary from metallic steel in the upper register, fully embedded within a stentorian middle voice that descends into a dark/rich chest register that often swells with contralto-like colouration. The great difference between the lyric mezzo voice compared to her dramatic cousin, is the sheer discrepancy in size and stamina between registers.
The lyric mezzo Susan Graham in the role of Werther’s Charlotte. Notice the brightness in timbre, with all registers coloured lightly and evenly. The vibrato is less intensified and the instrument does not possess great potency and size throughout the range.
Compare this to the dramatic mezzo of Dolora Zajick in the role of Amneris from Verdi’s opera Aida. Notice the consistency of weight, thickness and overall penetration of sound emitted across all registers. The upper register is not bright like a lyric mezzo, is almost coarse in comparison, but has the strength and colour of a dramatic soprano and more importantly can sustain this sound in a high tessitura over merciless orchestration. The dramatic mezzo is essentially the lyric mezzo on steroids, requiring extreme declamation top to bottom with incredible technical precision that can exude almost the entire female voice to its fullest.
Tessitura
Dramatic mezzo repertoire as a template normally ranges from a tessitura from F3 to G5, but this can be entirely variable. Whilst the nature of the mezzo fach is centred around the middle voice (with usually a passagio around F#5), the dramatic mezzo repertoire may require a singer to sing in a much higher or lower tessitura. Verdi is the composer most renowned for creating three distinct characters within the dramatic mezzo fach, which are as follows;
Princess Eboli- Don Carlo
A dramatic mezzo role that exemplifies the almost hybrid quality needed within the voice. The main example of this is Eboli’s first aria ‘Nel giardin del bello’
In this most intricate aria, the tessitura undulates between both dramatic mezzo and dramatic soprano in very frenetic and elaborate alternations. The high soprano range has to quickly delve into sustained low mezzo passages, almost contralto-like in placement and then suddenly segue into exposed melisma passages and high-staccato (up to A5). The agility needed arguably needs the dramatic mezzo to have dramatic coloratura ability, as well as being equipped to handle the technical requirements to dip in and out of the passagio. However it is Eboli’s second aria ‘O Don fatale’ that highlights the dual instrument a dramatic mezzo must possess.
Although not requiring the agility of the previous aria, the tessitura and general range is pushed almost entirely into dramatic soprano territory. The singer does also have to maintain a mezzo-tessitura, but it’s much less sustained and they are forced into a series of high notes that truly push test the limits of this fach. The singer has to climax to a (held) High B5 during the recitative, sing a beautifully middle-to-low cantabile with excellent legato and then needs the reserves to explode into a prolonged high extension that finishes on a High Bb5 into a High A5 that would befit any dramatic soprano score. In terms of a dramatic mezzo’s need for an upper register, this is role is the greatest example.
Amneris- Aida
Another powerhouse dramatic mezzo role Verdi created is another Princess, Amneris from his opera Aida. One of the greatest difficulties of this role is stamina. Amneris does not have an official aria within the opera, but requires lengthy and arduous singing throughout. The tessitura itself is more consistent, but the range extends from low A3 to High Bb5 and still requires the singer to straddle a dramatic mezzo/soprano dynamic, albeit without fully reaching the heights of Eboli’s music. As aforementioned, it is the sustained role of Amneris that is incredibly demanding to deliver.
In this duetto with Aida, the mezzo has to portray both elegant and tender singing, almost lyric in its approach as Amneris feigns concern over Aida in an attempt to reveal her affection for Radames. Once Aida’s secret is unveiled, the vocal line completely changes with an urgent malice in the chest register and unmistakable fury in the upper register. Remember, Amneris is the daughter of the Pharaoh and immensely powerful in her own right, so this authority has to be conveyed at all times. Alongside the stamina necessity this role requires, the ability to portray all facets of Amneris is incredibly demanding.
In Amneris’s climatic ‘judgement scene’, a scene extending over 10 minutes long, is where the dramatic mezzo has to consistently produce powerful, yet nuanced singing as Amneris wrestles with her conscience and begs pleadingly for Radames’s life. This scene highlights why only a dramatic mezzo can do this role justice. A dramatic soprano without a powerful low-to-middle register will neglect the colours in the voice to portray Amneris’s anguish, and a lyric mezzo would simply be obliterated by the chorus and orchestration. Amneris in terms of technical virtuosity, may not compare with Eboli’s music, but the musicianship, stamina, vocal characterisation make this a total tour de force of a role and a genius portrayal if sang well.
Azucena- Il Trovatore
Of all the Verdi dramatic mezzo characters, the gypsy woman Azucena is by the most formidable challenge Verdi wrote for the mezzo voice. Not only does this role push the dramatic mezzo fach to its limits, the role also has to comprise all of the female voice with equal facility. The tessitura is also the most variable of all the Verdi dramatic mezzo heroines. This is evident in Azucena’s opening aria ‘Stride la vampa’;
In this aria, the tessitura undulates between a typical dramatic mezzo tessitura (up to G5), but mainly requires consistently middle-voice singing, with sudden plummets into low chest voice, which suggests a score more comfortable for a contralto. Combined with this tessitura, this aria also insists on incredibly precise flexibility within the line and written trills. Essentially an aria that needs a contralto extension and colouration to match, with superb Bel canto skill.
In Azucena’s great scene ‘Condotta ell’era in ceppi’ however, the tessitura fluctuates even more violently. Whereas in ‘Stride la vampa’, the tessitura was variable, this scene exploits every element of the dramatic mezzo voice. There are frequent undulations between middle-voice potency, heavy declamations in chest voice and a tessitura that finally explodes into real dramatic soprano territory (up to a High Bb5), with all registers filled with weight and ferocity that is not needed in as much excess for a role like Eboli or even Amneris. Dramatic mezzo, dramatic soprano and contralto all have to conjoin in consecutive scenes, which makes this the most fearsome of all Verdi’s dramatic mezzo roles. There has to be vocal athleticism that can withstand the orchestration, technical aptitude to handle the intricacy of the score and absolute command over the characterisation that the role of Azucena demands. She is a truly visceral musical creation, that when sang vividly is the ‘Assoluta’ role for a Dramatic mezzo.
Great Dramatic Mezzos
Ebe Stignani (1903-1974) Perhaps the greatest dramatic mezzo of the 20th century. Blessed with a fully formed 3 octave range that extended from a contralto F3 to a metallic High C6, she was the pre-eminent mezzo voice in Italian repertoire ranging from Bellini’s Adalgisa to Verdi’s Ulrica. An inherently musical instrument, that could create effortless legato lines infused with a plethora of colour and drama that married her superbly to the great Assoluta herself- Maria Callas. Although not an aesthetically beautiful voice, her musicianship was peerless and was able to sing the full expanse of the dramatic mezzo rep due to her range and incredible agility in coloratura singing. The only mezzo who I could coin as a ‘mezzo-assoluta’.
Giulietta Simionato (1910-2010) A dramatic mezzo of the great post-war tradition of Italian singers. By far the most versatile singer on this list with a repertoire including Adalgisa (Norma), Eboli, Azucena, Amneris, Ulrica, Leonora (La Favorita), Giovanna (Anna Bolena), Carmen, Dalila and Cenerentola (Rossini’s Cinderella). A plush, warm voice capable of tender lyric beauty and equally incredible fury as Amneris and Azucena. A gifted, instinctive performer that had incredible vocal facility, extending from low G3 to a ringing High C#6 that was often sang with the cleanliness and squillo of a soprano. A singer who was often overlooked in her youth, but finally received acclaim and exposure alongside the greatest of singers (Callas, Corelli, Bjorling) and was highly respected and remembered for her immaculate technique and enduring artistry.
Christa Ludwig (1928- ) The only German dramatic mezzo on this list, and the most contrasting in terms of repertoire. Whereas Simionato and Stignani explored the dramatic repertoire of Verdi, Ludwig was renowned for her explosively intense characterisations in Wagner and Strauss’s dramatic Germanic works. Without a doubt the finest actress of all dramatic mezzos featured on this list, able to portray every vocal creation with uncanny authenticity. An outstanding musician, Ludwig applied these skills most memorably to the role of Ortrud the witch from Wagner’s opera Lohengrin, which included an upper register never heard before in the role that could erupt with almost supernatural force. Ludwig also showed her cunning craftsmanship in the role of Klymanestra (from Strauss’s Elektra), which allowed her to create a fully dimensional woman from a relatively shallow premise of a horror-story Queen. A true vocal technician with a remarkable, even seminal flair for operatic performance amongst mezzos.
Fiorenza Cossotto (1935- ) A great mezzo voice of the mid-to-late 20th century, Cossotto was the leading dramatic mezzo in the 60’s and 70’s, coveting iconic roles such as Amneris and Eboli. Although an extensively sang Verdian singer, Cossotto specialised in the Bel Canto repertoire of Bellini and Donizetti, most famously ‘scene-stealing’ Maria Callas in a production of Norma where she sang a scale up to a High C which an ailing Callas could not. This notoriety aside, Cossotto proved her quality as an emotive singer in Donizetti’s La Favorita and as Amneris, in which her performances show a sophisticated sense of melodrama. In her prime, a wonderfully homogeneous instrument that lacked the weight and strength of a Verdi dramatic mezzo, but had beautiful adeptness for Bel Canto line.
Shirley Verrett (1931-2010) The only American dramatic mezzo on this list, and the only singer on this list to fully translate into soprano repertoire. A magnificent vocal specimen that possessed one of the most naturally expansive ranges in opera, descending from well below the staff (low F3 and lower) all the way up to a soaring High D6. This clarity and complete ease in a high tessitura allowed Verrett to alternate between both dramatic mezzo and dramatic soprano roles such as Lady Macbeth, Amneris, Norma, Azucena, Eboli, Dalila, Elisabetta (Maria Stuarda) and Medea. In mezzo repertoire, Verrett’s throbbing, passionate timbre enabled her to breathe life into great Verdi heroines such as Eboli and yet subvert this heroism with dark, capricious intrigue as Dalila and Azucena. A freak of nature instrument that was able to cross repertoire boundaries and explore the full possibilities of the mezzo voice.
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